Traditional Igbo Society in World
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IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN(E): 2321-8878; ISSN(P): 2347-4564 Vol. 2, Issue 11, Nov 2014, 59-70 © Impact Journals TRADITIONAL IGBO SOCIETY IN WORLD LITERATURE THEMES: A STUDY OF THE PORTRAYAL OF THE INTERACTION BETWEEN WATER SPIRITS AND THE HUMAN SOCIETY IN ELECHI AMADI’S NOVEL “THE CONCUBINE” (1966) JOSEPHINE UZO AKABOGU Senior Lecturer, Department of Arts Education, University of Nigeria, Nsukka, Nigeria ABSTRACT Creation, its purpose and progression remain man’s greatest enigma, scriptural and scientific explanations not withstanding. However, certain ideas of Elemental beings identified with the four elements of Fire, Water, Air and Earth, is one such idea. Of these beings, the water elements have received the greatest attention in the folklores and literatures of all people. In Igboland where this study focuses, tales about Ezenwanyi, Owummiri, or Mammy water are common currency. This universal theme of folklores handled by Amadi in this his complete Igbo novel, The Concubine (1966) is the focus of this work, studying its Igboness in perspective and ideas, showing how his holds its own in a globalized world, according respect, dignity and university to the Igbo, creating hence a sense of self knowledge and positive pride. KEYWORDS: Literature, Water Spirits INTRODUCTION Human nature is certainly universal. Environmental factors only go to give it the different colours it displays on the surface. Hence the basic needs of man are ever recurring issues in the modern world. One aspect of man’s nature that portrays this universality is Literature. Every society has a literature, its own literature. In its literature, every society is reflected in its joys and sorrows, its toils and expectations, its hopes, deceptions and aspirations. Through certain literary themes, the whole nature and fabric of man or society is portrayed. One such theme is that of the unknown, invisible and presumed world, that compels great fear an uncertainty and seems to define man’s fate on earth. Apart from the belief in God and gods, the belief in the existence of elemental beings that interfere in human affair is world wide and is expressed in the literature of every land. These elemental beings are usually associated with the four elements of Air, Earth, Fire and Water; the sylphs of the air, the gnomes of earth the salamanders of fire and the undines of water. Of these, the water elementals or beings have received the greatest attention in literature as they seem to have the greatest influence and interaction on and Man. No wonder stories about the “Dwellers in the depths” are found in the literature, mythology and legend of every people. Water Spirits Scientific and technological advances have in the Western World, played down the belief in any idea of things considered irrational, right from the time of European Enlightenment, age of reason and urbanization. However in the western world it was Paracelsus (1493-1541) who in his occult philosophy made popular the idea of water beings, which Impact Factor(JCC): 1.3648 - This article can be downloaded from www.impactjournals.us 60 Josephine Uzo Akabogu he called undine, from Latin Unda-wave. According to him these nymphs were female in form and lacking a soul, until married to a mortal and mother of his child.1 During German Romanticism, Frederik de la Motte Fouque (1777-1843) published in 1811 his title Undine which was reprinted many times, and translated into several world languages. His source was Paracelsus writing on Elementargeitster. He came across this through his teacher A. W. Von Schlegal who had introduced him to the German mystic and alchemist of the middle ages Jakob Bohme. (1575-1624). Before that however European literature, right from Rome and Greece had present in it this theme of water beings. Enzler S. M.2 in his article, “An Assemblage of myths legends on water and water creatures,” makes an almost encyclopedic presentation on water creatures as perceived by peoples of different parts of the world. In China the Dragon Kings were water deities, The Kappas the intelligent water spirits in Japanese mythology dwelt in dragon palace castles. Cato is the hideous sea monster being. The Grindylows of British folklore seem to belong to the same stem as the lady of the lake in the legend of King Arthur. On the continent, the Lady on the Rhine River, the Loreley so beautifully presented in poetry by Hein rich Hein’s Book of songs 3 is similar to the sekies of Scotland and the deadly Sirens of Greece. The Jengu of central, East and South African myths measure so very well with the Ndem with her male counterpart Ekpenyong of both Efik and Ibibio folklore as well as the Ezenwanyi in Igobland. Mamiwater perhaps is the most wide spread phenomenon in Africa and its diaspora in the America and the west Indies expressed most strongly in the belief in Yemaja, the afro-Braazilian sea goddess. The list is endless and their interaction with humans on land is an awesome diversity of the good the bad and the ugly. The Ogbuide of the Oguta lake studied and written on by Sabine Jell Behlsen 4 is perhaps the most fascinating modern account of this ageless story here in Igboland and may be in the world. Sir Victor Uwaifo 5 in his popular high life hit of the last century, titled, “Guitar Boy” does advocate love for these beings as he says in the lyrics, “If you see mammy water, never run away, sing her a song of love oh Victor Uwaifo”. Thus it is easy to say that the “Kingdoms of the depths” and their citizens that appear manifest in different forms in the societies of man have, down through. The ages an integral part of every human society and have played important roles and had striking influences on society. Amadi in this work portrays one such case. This is in the Igbo world. Amadi, His Views and Works One may be too presumptuous if one calls Elechi Amadi an Igbo. From his perspective he probably would prefer 1 Manfred Kluge and Rudolf Radler, Haupt werke der deutschen Literactur (Muenchen: Kindler Verlag, 1974), 264-265. 2 S. M. Enzler, An assemblage of myths and legends on water creatures on the article, <www.linntech.com/water- mythology.htm > (23 January 2004-3.30pm). 3 Henrich, Heine, Buch der Lieder. Nachless zu den Gedichten 1812-1827 eutscher (Muenchen: Taschenbuch Verlag GmbH&Co KG, 1975), 107. 4 Sabine Jell Bahlsen, Ogbuide of Oguta. The Water Goddess in Igbo cosmology (Africa World Press), 1. 5Victor Uwaifo, Top 12 Hits. Track no. 1 http://www.youtube.com/watch?v=EM7mNjw_k8 January, 23 rd 9.00am. Index Copernicus Value: 3.0 - Articles can be sent to [email protected] Traditional Igbo Society in World Literature Themes: A Study of the Portrayal of the Interaction Between 61 Water Spirits and the Human Society in Elechi Amadi’s Novel “the Concubine” (1966) to be Ekwerre and not Igbo, for if according to him Ikwerre is a “language linguistically close to Igbo” and not a dialect of Igbo 6, the Ikwerre would certainly not be Igbo, but Ikwerre, despite so much overwhelming evidence of cultural sameness. No matter the differences on either side, we consider Amadi Igbo, and so make bold to discuss him and his works within the context of Igbo culture and world view. Amadi’s views on African literature are quite clear. For him the theme of cultural conflict in African literature, though important, should be minimized. He sees “Negritude” as “an unnecessary ideology 7 “…. the depiction of African culture by itself without reference to any invading culture is …….important” 8. This way our culture can come into its own and we can contemplate it with pride and relate to it naturality” 9 it holds. This personal view is clearly seen in his works. In his writings he has discussed the African Village life in its natural if not primordial setting and his characters have also acted in that way, without foreign blemish. 10 Still on African literature, he holds that the African writer has to write about the environment in three dimensions simultaneously, “its private life, the social life and ….the supernatural 11 . This approach he also maintains in his works. Amadi had five African novels to his credit in addition to poetic works and drama pieces. The Concubine (1966) was his first and ground breaking novel which became an instant classic. The other ones are The Great Ponds (1969); The Slave (1978); Sunset in Biafra (1973); Estrangement (1986): Isiburu, (1978); Peppersoup (1977); The Road to Ibadan (1977). Dancer of Johannesburg (1979) and, The woman of Calabar (2001) are his plays. Added to these are poems essays and short stories. The Concubine the Story The story of this novel tallies well with Amadi’s idea of African literature – no admittance of non African ideas and influences and portrayal of private, social and supernatural levels of the African society, simultaneously. Emenike a highly admired and respected member of Omokachi village dies living behind his wife and three children following a fight with another villager over a piece of land, despite sacrificing to the God Amadioha in thanks giving for recovery from injuries sustained in the fight. His widow Ihuoma is slowly settling to her life as widow but her mother is, considering Ihuoma’s age and thinking of her marrying again but Ihuoma is reluctant. While trying to fetch plantain from her late husband’s piece of land which had been in dispute, she is accosted by Madume, Emenike’s assailant, who has the effrontery to make love advances, and dares to touch her.